Giardini Oort is a project from Ravenna, Italy, that draws inspiration from the heavy-hitting playbook of Nine Inch Nails, Brian Eno, Atticus Ross and Radiohead. The project is designed to take listeners to otherworldly expedition, while keeping them immersed. They specialise in EDM tracks such as RAV Vast, handpan, and udu-style drums. They may not have any live acts to perform as of yet, but their brand-new single does build up to become a part of their upcoming EP, soon.
“Here, at the edge of everything, even emptiness has a rhythm.”
Let’s cut to the chase: from the point the bass kicks in, “Zero Point” is a physical sensation, not just in your AirPods, but in your chest, or even your feet. It’s this weird, creepy sense of intimacy, like someone’s whispering a secret in your ear while the world starts to crumble around them. Paired with an aggressive electronica and the unexpected organic percussion, it’s actually pretty fascinating. So, “Zero Point” might not be everyone’s thing. But this is music for people who want to feel something more than just the standard verse-chorus-verse. It’s for when pop music just feels like empty calories.
Give “Zero Point” the attention it deserves and let it bring you to that edge, and see what you can discover.
We caught up with Giardini Oort to talk about his music and creative process.Here’s what he had to say:
The title “Zero Point” suggests a moment of complete reset. Was there a specific personal experience that inspired this concept?
Yes — it came from a very real need to return to something clean, beyond identity and noise. Over the last months I felt the weight of constant stimulation, tension, and a world that often feels permanently on the edge.
“Zero Point” is the moment where the system collapses and resets: not a happy reset, but a necessary one. A point of consciousness where everything becomes silent enough to see what remains: the pulse, the breath, the raw presence underneath the story we tell ourselves.
You mention Nine Inch Nails as a major influence. How do you balance paying homage to that sound while carving out your own identity in the industrial electronic space?
Nine Inch Nails taught me that sound can be physical and emotional at the same time — brutal, intimate, cinematic. But my goal isn’t to imitate that language, it’s to use its intensity as a tool.
My identity is in the contrast: industrial tension mixed with ritual-like percussion, sudden fractures, and a kind of “inner space” that feels more meditative than aggressive. It’s not about violence — it’s about pressure, transformation, and what happens right before the mind breaks… or wakes up.
What does your creative process actually look like? Do you start with the modular synths, the acoustic percussion, or does a lyrical concept come first?
Most of the time it starts with sound design. Modular synths are unpredictable — they feel like a living organism, and you can’t fully recreate the same moment twice. That impermanence is part of the message.
Then I shape the rhythm and the space, adding acoustic elements like UDU or bass to bring a human body into the machine. Lyrics come last, like a final layer of meaning — not to explain, but to open a door. In “Zero Point” the voice is almost a ghost: present, but not fully “human” in a conventional pop sense.
The lyrics explore the dissolution of self and identity. Was it challenging to translate such abstract philosophical concepts into something people could actually feel through sound?
It was challenging because philosophy can become sterile if you over-translate it into words. I wanted something visceral. The track is designed to create a sensation: you’re moving forward, then you’re interrupted — again and again — like a mind trying to hold on to a narrative while reality keeps tearing it apart. The lyrics are minimal and ritual-like on purpose, because the real message is in the sound: tension, rupture, release. That’s where people feel it, not just “understand” it. “Zero Point” is the fracture — the threshold. It introduces the EP’s deeper narrative: the balance between life and death, the tension between destruction and forgiveness, and the question of what remains when the ego dissolves. The wider project was shaped by the emotional weight of what we’ve been witnessing globally in recent times — not as a statement, but as an atmosphere that inevitably seeps into the music. The EP explores these themes through metaphor: opposing forces meeting at the same point, and the idea that, in a true “zero point” state, even the darkest energy can be transformed into something quieter, clearer, and human again.
If someone connects with “Zero Point,” what should they explore next in your catalog, or what other artists would you point them toward?
If “Zero Point” connects with someone, I’d suggest exploring my work as Giardini Oort as a whole — because the project lives in that space between ambient immersion and industrial intensity.
In terms of influences, I’d point toward Nine Inch Nails / Trent Reznor & Atticus Ross for cinematic pressure and texture, Brian Eno for intention and space, and artists who treat sound design like storytelling rather than decoration.
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